Visiting Sleeping Beauties: Reawakening Fashion? You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Learn more
Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries

Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries

Pyhrr, Stuart W., and José-A. Godoy, with essays and a compilation of documents by Silvio Leydi
368 pages
298 illustrations
View More Publication Info

The second quarter of the sixteenth century witnessed the emergence of a new fashion of armor design based on the forms and ornament found in classical art. Embossed in high relief, richly gilt, and damascened in gold and silver, these lavish parade armors all'antica were worn by Renaissance kings and captains who wished to project an aura of power and virtue by arraying themselves like the heroes of ancient Roman history and mythology. The re-creation of classically inspired armor is invariably associated with Filippo Negroli, the most innovative and celebrated of the renowned armorers of Milan. Within the Negroli family of armorers, Filippo was the best known of his extremely successful generation, which included his brother Francesco, a skilled damascener in the service of Emperor Charles V, and his cousin Giovan Paolo, a talented master who provided armor to the French court. From large numbers of recently uncovered documents in the state, civic, and ecclesiastical archives of Milan, details have been gleaned of Negroli family members, their workshops and employees, marriages and deaths, property and testamentary arrangements, and business dealings with clients and fellow armorers. A digest of the documents is included, and a brief, cogent discussion of the manufacture and commerce of arms in sixteenth-century Milan provides a context for the work of these talented artists. The core of the book is a thorough reexamination of all the armors signed by Filippo Negroli. Additional works are attributed to him, and lost works are identified. The authors confirm the attribution of two magnificently damascened armors to Francesco Negroli, and they present Giovan Paolo Negroli's single signed work along with pieces they consider to be his. Each armor is described, illustrated, and placed in the context of the maker's oeuvre; its history of ownership is discussed; and its treatment in the critical literature is assessed.

Around these superlative examples of Renaissance armor all'antica are grouped works that demonstrate the strong influence of the Negroli on contemporary Italian armorers as well as the variety and originality of armor design during the years 1535–55. The authors also touch on the sources of Renaissance armor through Greek and Roman prototypes, fourteenth- and fifteenth-century versions of classical-style armor, and sixteenth-century albums of designs. In the hands of a master like Filippo Negroli, whose virtuoso skill at modeling in high relief is unrivaled in the history of metalworking, traditional military costume was transformed into sculpture in steel. The extraordinary technical abilities of the Milanese armorers, combined with their imaginative adaptation of decorative motifs from the antique, such as lion and Medusa heads, fantastic creatures, and abundant foliate ornament, gave rise to an original art form that evokes the pomp and pageantry of the Renaissance courts. These treasured objects, many of which are still part of the royal collections they have been in since the sixteenth century, are generously illustrated in this book, which serves as the catalogue of an exhibition at The Metropolitan Museum of Art.

Arm Defenses, Domenico Negroli  Italian, Steel, Italian, Milan
Domenico Negroli
ca. 1510
Saint George, Carlo Crivelli  Italian, Tempera on wood, gold ground, transferred to Masonite
Carlo Crivelli
Bronze helmet of the Corinthian type, Bronze, Greek
6th century BCE
Bronze cuirass (body armor), Bronze, Greek, Apulian
Greek, Apulian
4th century BCE
Great Sallet, Steel, Italian
possibly 1420–50
Sallet in the Shape of a Lion's Head, Steel, copper, gold, glass, pigment, textile, Italian
ca. 1475–80
A Young Warrior, Tullio Lombardo , and workshop, White marble, Italian, Venice
Tullio Lombardo
Ein frembdes und wunderbares kunstbüchlein, Heinrich Vogtherr the Elder  German, Woodcuts
Heinrich Vogtherr the Elder
Helmet all'Antica, Filippo Negroli  Italian, Steel, Italian, Milan
Filippo Negroli
ca. 1532–35
Filippo Negroli
ca. 1530–35
Burgonet, Filippo Negroli  Italian, Steel, gold, textile, Italian, Milan
Filippo Negroli
dated 1543
A panel of ornament with a woman holding a vase in centre, Master of the Die  Italian, Engraving
Master of the Die
Perino del Vaga (Pietro Buonaccorsi)
Burgonet after Filippo Negroli, Steel, Italian, Milan
Italian, Milan
about 1545–50
Rapier of Emperor Charles V (1500–1558), Francesco Negroli , and his brothers Italian, Steel, gold, silver, wood, Italian, Milan
Francesco Negroli
ca. 1550–53
Multiple artists/makers
Burgonet, Steel, gold, Italian, Milan
Italian, Milan
ca. 1550–55
Breastplate, Giovan Paolo Negroli  Italian, Steel, gold, Italian, Milan
Giovan Paolo Negroli
ca. 1540–45
Close Helmet, Giovan Paolo Negroli  Italian, Steel, copper alloy, gold, Italian, Milan
Giovan Paolo Negroli
ca. 1540–45
Drawing of a Parade Helmet, Colored chalk on paper, Italian, probably Venetian
Italian, probably Venetian
second half 16th century

View Citations

Pyhrr, Stuart W., and José A. Godoy. 1998. Heroic Armor of the Italian Renaissance: Filippo Negroli and His Contemporaries. New York: Metropolitain Museum of Art.